“Remanence presents a relic of the future; a body that is neither male nor female in appearance but at once refers to both the histories of classical sculpture as well as a speculative cyborgian body of the electromechanical future. I like to think of this body as a gate, a gate to a different time and place. Today, when we encounter ancient forms of art, our mind reflects at those different times, different cultures. The mind of any viewer is attaching visual familiar elements and symbols while filling the missing links with individual cultural references. This gate leads the viewer into an individual realm of the past. Just like observing ancient Greek-Roman god sculptures, like the Winged Victory of Samothrace, in which their form and shape partially survived through the test of time, sometimes even stripped from its context. Remanence asks to be looked upon as a supreme entity in an earthly shape, partially striped from its physicality and context but still triggered with mysticism. It is suggesting the same way of gazing at the past and turn it forward, to the future, this gate functions in the same speculative way, for things that have not yet happened. Influenced by Neon Genesis Evangelion animated series and its posthumanism perspective, the body of Remanence is asking to rearrange ideas about the human body border in conjunction to the fluidity of both genders’ physical lines. In Remanence these borders of the body-mechanism connection are no longer in question. While challenging the body borders using the kinetic light from within, this future relic points out ideas about our relations with the machine and the machine as an extension of the body, positioning the viewer at the present through a futuristic observation. This mechanical non-binary body is a lighthouse marking to us the shores of a possible futuristic body.”